Manuscripts and Medieval Song The manuscript sources of medieval song rarely fit the description of ‘songbook’ easily. Instead, they are very often mixed compilations that place songs alongside other diverse contents, and the songs themselves may be inscribed as texts alone or as verbal and musical notation. This book looks afresh at these manuscripts through ten case studies, representing key sources in Latin, French, German, and English from across Europe during the Middle Ages. Each chapter is authored by a leading expert and treats a case-study in detail, including a listing of the manuscript’s overall contents, a summary of its treatment in scholarship, and up-to-date bibliographical references. Drawing on recent scholarly methodologies, the contributors uncover what these books and the songs within them meant to their medieval audience and reveal a wealth of new information about the original contexts of songs both in performance and as committed to parchment. helen deeming is Senior Lecturer in Music at Royal Holloway, University of London. She has taught medieval music at the University of Cambridge, King’s College London, the University of Southampton and Royal Holloway, University of London and won several teaching prizes. She is the editor of Songs in British Sources, c.1150–1300, Musica Britannica, vol. 95 (2013) – a scholarly edition that makes many songs available in print for the first time. elizabeth eva leach is Professor of Music at the University of Oxford. Her publications include Guillaume de Machaut: Poet, Secretary, Musician (2011), Sung Birds: Music, Nature and Poetry in the Later Middle Ages (2007), Citation in Medieval and Renaissance Musical Culture (co-edited with Suzannah Clark, 2005), and Machaut’s Music: New Interpretations (editor, 2003). In 2013 she was awarded the Dent Medal of the Royal Musical Association; she was also winner of the 2012 Phyllis Goodhart Gordan Prize of the Renaissance Society of America, and the 2007 Outstanding Publica- tion Award of the Society for Music Theory. MUSIC IN CONTEXT Series editors: J. P. E. Harper-Scott Royal Holloway, University of London Julian Rushton University of Leeds The aim of Music in Context is to illuminate specific musical works, repertoires, or practices in historical, critical, socio-economic, or other contexts; or to illuminate particular cultural and critical contexts in which music operates through the study of specific musical works, repertoires, or practices. A specific musical focus is essential, while avoiding the decontextualization of traditional aesthetics and music analysis. The series title invites engagement with both its main terms; the aim is to challenge notions of what contexts are appropriate or necessary in studies of music, and to extend the conceptual framework of musicology into other disciplines or into new theoretical directions. BOOKSINTHESERIES SIMON P. KEEFE, Mozart’s Requiem: Reception, Work, Completion J . P . E . HARPER- SCOTT, The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton NANCY NOVEMBER, Beethoven’s Theatrical Quartets: Opp. 59, 74 and 95 RUFUS HALLMARK, ‘Frauenliebe und Leben’: Chamisso’s Poems and Schumann’s Songs ANNA ZAYARUZNAYA, The Monstrous New Art: Divided Forms in the Late Medieval Motet HELEN DEEMING and ELIZABETH EVA LEACH, Manuscripts and Medieval Song: Inscription, Performance, Context Manuscripts and Medieval Song Inscription, Performance, Context Edited by helen deeming and elizabeth eva leach University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107062634 © Cambridge University Press 2015 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2015 Printed in the United Kingdom by Clays, St Ives plc A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Manuscripts and medieval song : inscription, performance, context / edited by Helen Deeming and Elizabeth Eva Leach. pages cm. – (Music in context) Includes bibliographical references and index. ISBN 978-1-107-06263-4 (Hardback) 1. Music–Europe–500–1400–Manuscripts. 2. Music–Europe–15th century– Manuscripts. 3. Manuscripts, Medieval. 4. Paleography, Musical. 5. Musical notation–History–To 1500. I. Deeming, Helen, editor. II. Leach, Elizabeth Eva, editor. ML172.M36 2014 782.409002–dc23 2014034732 ISBN 978-1-107-06263-4 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Contents List of figures [page vii] List of music examples [viii] List of tables [ix] Notes on contributors [xi] Acknowledgements [xiii] A note on manuscript sigla [xiv] List of manuscripts cited (with links to online surrogates where present) [xv] List of abbreviations [xxi] Introduction [1] helen deeming and elizabeth eva leach 1 New light on the earliest medieval songbook [9] sam barrett 2 The careful cantor and the Carmina Cantabrigiensia [35] jeremy llewellyn 3 Across divides: Aquitaine’s new song and London, British Library, Additional 36881 [58] rachel may golden 4 Wine, women, and song? Reconsidering the Carmina Burana [79] gundela bobeth (translated by henry hope) 5 An English monastic miscellany: the Reading manuscript of Sumer is icumen in [116] helen deeming 6 Preserving and recycling: functional multiplicity and shifting priorities in the compilation and continued use of London, British Library, Egerton 274 [141] helen deeming 7 Miniatures, Minnesänger, music: the Codex Manesse [163] henry hope v vi Contents 8 Writing, performance, and devotion in the thirteenth-century motet: the ‘La Clayette’ manuscript [193] sean curran 9 A courtly compilation: the Douce Chansonnier [221] elizabeth eva leach 10 Machaut’s first single-author compilation [247] elizabeth eva leach 11 Songs, scattered and gathered [271] helen deeming and elizabeth eva leach Bibliography 286 Index 313 Figures 4.1 Text of Gaude. Cur gaudeas, vide (CB22) compared to the textual transmission of the Notre-Dame repertory [page 89] 4.2 Dic Christi veritas (CB131) in D-Mbs Clm 4660-4660a f.54r-v; by permission of the Bayerische Staatsbibliothek Munich [102] 4.3 Three strophes of Dic Christi veritas (CB131) alternating with three strophes of Bulla fulminante [104] 7.1 Reinmar der Fiedler in D-HEu Cod.Pal.germ.848, f.312r. Reproduced by kind permission of the Universitätsbibliothek Heidelberg. [168] 7.2 a) Image of Meister Heinrich Frauenlob in D-HEu Cod.Pal.germ.848, f.399r; reproduced by kind permission of the Universitätsbibliothek Heidelberg; b) image from I-Fl Plut.29.1, f.1v; on concession of the MiBACT. Further reproduction by any means is forbidden. [170] vii Music examples 2.1 A unit consisting of three or four lines whose musical structure is shaped Aa [Aa]Acl B, where Aa utilizes an apertum ending modally and Acl a clausum [page 50] 2.2 ‘Nostre quedam’ and ‘Salve sancta dies’ reconstructed from concordances [53] 3.1 Text, translation, and transcription of Ave mater salvatoris, GB-Lbl Add.36881, f.16v (DI) [71] 3.2 Text, translation, and transcription of Quam felix cubiculum, GB-Lbl Add.36881, f.21r–v[74] 4.1 Synoptic overview of neumatic notations of Dic Christi veritas. a) D-Sl HB I 95;b)D-Mbs Clm 4660;c)CH-EN 1003 [107] 4.2 Synoptic overview of neumatic notations of Bulla fulminante. a) D-Sl HB I 95;b)D-Mbs Clm 4660;c)GB-Lbl Egerton 274 [109] 5.1 Regina clemencie (GB-Lbl Harley 978, ff.4v–6r) [127] 5.2 Felix sanctorum chorus (GB-Lbl Harley 978, ff.10v–11r) [132] 5.3 Est tonus sic (GB-Lbl Harley 978, ff.14v–15r) [137] 6.1 Kyrie celum creans (ff.92r–93v) [153] 6.2 The opening phrase of Kyrie celum creans in two polyphonic contexts [155] 8.1 Transcription, text, and translation of F-Pn n.a.f.13521 no.1, Ave virgo regia (MV805) / Ave gloriosa mater salvatoris (MV804) / DOMINO (DOMINO I) [210] 10.1 Opening of the B section of N’en fait, n’en dit (Balade no.11), comparing F-Pn fr.1586’s reading with that in the other manuscripts [251] viii Tables 1.1 Contents of F-Pn lat.1154 [page 10] 1.2 Limoges saints within the list of Confessors [15] 1.3 Proposed changes to the opening of the list of Confessors [18] 2.1 List of contents of GB-Cu Gg.V.35 from Rigg and Wieland 1975 [37] 2.2 Comparison of neumed portions in GB-Cu Gg.V.35 and CC adapted from Hartzell 2006 [44] 2.3 Comparison of unnotated texts in GB-Cu Gg.V.35 and CC which have concordances elsewhere with musical notation [45] 2.4 Concordances and order of segments for Hec est clara dies (CC44) [48] 2.5 Synoptic comparison of Luke 24 with Nostre quedem abiere (segment 9b) in CC and Nevers [51] 4.1 The main corpus of D-Mbs Clm 4660-4660a [93] 4.2 The musical items among the later additions to D-Mbs Clm 4660-4660a [98] 5.1 The contents of GB-Lbl Harley 978 [120] 5.2 The music preserved in GB-Lbl Harley 978 [125] 5.3 The text of Ante thronum regentis omnia (GB-Lbl Harley 978, f.13r) [130] 6.1 The contents of GB-Lbl Egerton 274 [142] 6.2 The physical make-up of GB-Lbl Egerton 274 [145] 7.1 Orality in D-HEu Cod.Pal.germ.848 [183] 7.2 Features of musicality in the miniatures of D-HEu Cod.Pal.